text:
Parshas Ki Savo 5758 - '98
Outline Vol. 2, # 45
Chodshei Hashanah Vol. 2 # 28
Two Days: Split Sanctity
Since Yom Tov is based on a calendar date, and the dates of the months were established by the court, the court controlled the occurrence of Yom Tov.
We have seen how Rosh Hashanah is unique, in that it specifically coincides with the occurrence of the new moon. It is the only holiday that is observed for two days, even in Jerusalem.
Last week, we discussed the Rabbinic decree that, if the witnesses of the new moon were delayed until afternoon, two days would be declared sanctified: one with a Torah status, one with a Rabbinic status. This decree introduced a new concept.
There has always been a notion of two days of Yom Tov for those out of communication with the court, due to doubt. (See Rabbenu Bachaye to Parshas Bo, Asarah Ma'amaros [quoted in Magen Avraham, Hilchos Shavous].) However, the decree of two days of Rosh Hashanah which we are referring to, was much different. Here, the two days were not imposed as a matter of doubt, but by a definite enactment.
According to Rashi, if the witnesses were late, the new law would not allow them to come to court on the first day. By preventing the witnesses from coming to court, the decree forced the sanctity of Rosh Hashanah to take affect the second day. At the same time, the first day would also have a degree of sanctity. What is the nature of this split sanctity?
Tzafnas Pane'ach shows how the calendar date was counted from the first day, and the shofar was sounded then, but the sacrifices were essentially brought the second day. (See Rav Moshe Sternbuch, Mo'adim Uzmanim, Vol. 6 #9)
As Rav Sternbuch points out, this helps us to understand the two days of Rosh Hashanah today; the second day, too, has great significance. Actually, according to the original decree, the second day was sanctified according to Torah Law, and should have been the more significant one.
Close to the time of the destruction of the Beis Hamikdash, the court moved to Yavneh, and again allowed the witnesses to appear any time the first day. The first day returned to be the more significant day from the Torah. Nonetheless, after much debate, the Talmud concludes that the decree of two definite days remains in effect. (Tractate Beitza, 4b - 5b)
What is Required
The Alter of Slabodka (Rav Noson Tzvi Finkel) urged his students to strive for unlimited greatness; as we know, in this endeavor he was extremely successful. Especially at this time of year -- the Alter would say -- we should not be satisfied with our spiritual levels. "(In the next world) we will be required to be complete in all spiritual areas -- never be satisfied!" (See Ohr Tzafon, vol. 3, p. 73.) No matter our age and backround, it is never too late to get started.
What to Bring at Rosh Hashanah
At each Yom Tov, a special offering was given, concerning the material judged at that particular festival. For example, there is a judgment regarding water at Sukkos, and there are special water libations at that time. (Tractate Rosh Hashanah 16a.) At Rosh Hashanah, when the judgment regards man in general -- he should have to bring himself! (Rav Shlomo Brevda, published in Am Hatorah)
Rabbi Yaakov Bernstein
11 Kiryas Radin
Spring Valley, NY 10977
Phone: (914) 362-5156
E-mail: [email protected]
Good Shabbos!
Text Copyright © '98 Rabbi Yaakov Bernstein and Project Genesis, Inc.
Copyright © '98 Project Genesis, Inc.


text: On last night's Gaga-inspired episode of Glee, the students at McKinley High embraced their unique differences and learned to love themselves, and at the center of this journey were the LGBT members of the New Directions. From Kurt's touching farewell serenade from his boyfriend Blaine, to Santana's nuanced sadness at seeing Brittany's relationship with Artie and her determination to win Brittany's affection, to Karofsky's alarm when Santana confronts him about his orientation, Glee is giving voices to teens who are at different points on their paths to self-acceptance. As part of Kurt's agreement to return to McKinley, he insists that Karofsky co-found a school chapter of PFLAG so Karofsky can educate himself on LGBT issues and get to the root of his abusive behavior. And though his hand is being forced, he and Santana begin affecting real change at McKinley through their anti-bullying patrol. Closing out the episode is the showstopper performance of Gaga's anthem of self-acceptance "Born This Way," where the New Directions each don a shirt that proudly announces the parts of them they're embracing: While Kurt is trailblazing as the only openly gay teen at McKinley, Brittany, who is bisexual, is encouraging Santana to embrace herself openly, giving her a shirt for the performance to celebrate her identity (it adorably says "Lebanese," intended to read "Lesbian") and telling her "you're the most awesomest girl at the school. Why would you try to hide any of it? …I do love you. Clearly you don't love you as much as I do or you'd put this shirt on, and you'd dance with me." Glee is proving itself time and again to be a remarkable spotlight for LGBT youth by telling the stories of gay teens who are working towards self-acceptance, with characters like Kurt, Blaine, and Brittany leading the way for students like Santana and Karofsky to flourish and embrace who they truly are. Because baby, they were born this way. If you missed the episode, you can check it out on the Glee website, or you can view it here:

subset: commoncrawl


text:
Samsung Wave 723 is a Bada OS powered smartphone, which was announced back in August. It is the second Bada powered smartphone. This handset is finally available in the UK, exclusively on the airwaves of O2.
Samsung Wave 723 comes with a 3.2 inch Super AMOLED Display, Bada 1.1 OS, TouchWiz UI, Wi-Fi, 3G Connectivity, Bluetooth 2.1 with A2DP, 5 mega pixel camera with LED Flash and Auto Focus, A-GPS, MicroUSB, Accelerometer and more.
Other features include ActiveSync support, Social Hub, Dolfin Browser 2.0, Samsung Apps, 3.5mm audio jack, 220MB internal memory, 16GB expandable memory, Music player with SoundAlive, up to 700 hours stand-by time, up to 14 hours 20 minutes talktime and 1200 mAh battery.
Samsung Wave 723 is currently available for free with a 2 years contract agreement and a monthly plan of at least £20.


text:
Frequent Links
Johann Sebastian Bach
Johann Sebastian Bach[1] (31 March [O.S. 21 March] 1685Template:Spaced ndash28 July 1750) was a German composer and musician of the Baroque period. He enriched established German styles through his skill in counterpoint, harmonic and motivic organisation, and the adaptation of rhythms, forms, and textures from abroad, particularly from Italy and France. Bach's compositions include the Brandenburg Concertos, the Goldberg Variations, the Mass in B minor, two Passions, and over three hundred sacred cantatas of which nearly two hundred survive.[2] His music is revered for its technical command, artistic beauty, and intellectual depth.
Bach was born in Eisenach, Saxe-Eisenach, into a great musical family. His father, Johann Ambrosius Bach, was the director of the town musicians, and all of his uncles were professional musicians. His father probably taught him to play the violin and harpsichord, and his brother, Johann Christoph Bach, taught him the clavichord and exposed him to much contemporary music.[3] Apparently at his own initiative, Bach attended St. Michael's School in Lüneburg for two years. After graduating he held several musical posts across Germany: he served as Kapellmeister (director of music) to Leopold, Prince of Anhalt-Köthen, Cantor of the Thomasschule in Leipzig, and Royal Court Composer to Augustus III.[4][5] Bach's health and vision declined in 1749, and he died on 28 July 1750. Modern historians believe that his death was caused by a combination of stroke and pneumonia.[6][7][8]
Bach's abilities as an organist were respected throughout Europe during his lifetime, although he was not widely recognised as a great composer until a revival of interest and performances of his music in the first half of the 19th century. He is now generally regarded as one of the greatest composers of all time.[9]
- 1 Life
- 2 Legacy
- 3 Works
- 4 Musical style
- 5 See also
- 6 References
- 7 Bibliography
- 8 Further reading
- 9 External links
Childhood (1685–1703)
Johann Sebastian Bach was born in Eisenach, Saxe-Eisenach, on 21 March 1685 O.S. (31 March 1685 N.S.). He was the son of Johann Ambrosius Bach, the director of the town musicians, and Maria Elisabeth Lämmerhirt.[10] He was the eighth child of Johann Ambrosius, (the eldest son in the family was 14 at the time of Bach's birth)[11] who probably taught him violin and the basics of music theory.[12] His uncles were all professional musicians, whose posts included church organists, court chamber musicians, and composers. One uncle, Johann Christoph Bach (1645–93), introduced him to the organ, and an older second cousin, Johann Ludwig Bach (1677–1731), was a well-known composer and violinist. Bach drafted a genealogy around 1735, titled "Origin of the musical Bach family".[13]
Bach's mother died in 1694, and his father died eight months later.[5] Bach, aged 10, moved in with his oldest brother, Johann Christoph Bach (1671–1721), the organist at St. Michael's Church in Ohrdruf, Saxe-Gotha-Altenburg.[14] There he studied, performed, and copied music, including his own brother's, despite being forbidden to do so because scores were so valuable and private and blank ledger paper of that type was costly.[15][16] He received valuable teaching from his brother, who instructed him on the clavichord. J.C. Bach exposed him to the works of great composers of the day, including South German composers such as Johann Pachelbel (under whom Johann Christoph had studied) and Johann Jakob Froberger; North German composers;[3] Frenchmen, such as Jean-Baptiste Lully, Louis Marchand, Marin Marais; and the Italian clavierist Girolamo Frescobaldi. Also during this time, he was taught theology, Latin, Greek, French, and Italian at the local gymnasium.[17]
At the age of 14, Bach, along with his older school friend Georg Erdmann, was awarded a choral scholarship to study at the prestigious St. Michael's School in Lüneburg in the Principality of Lüneburg.[18] Although it is not known for certain, the trip was likely taken mostly on foot.[17] His two years there were critical in exposing him to a wider facet of European culture. In addition to singing in the choir he played the School's three-manual organ and harpsichords.[17] He came into contact with sons of noblemen from northern Germany sent to the highly selective school to prepare for careers in other disciplines.
While in Lüneburg, Bach had access to St. John's Church and possibly used the church's famous organ, built in 1549 by Jasper Johannsen, since it was played by his organ teacher Georg Böhm.[19] Given his musical talent, Bach had significant contact with Böhm while a student in Lüneburg, and also took trips to nearby Hamburg where he observed "the great North German organist Johann Adam Reincken".[19][20] Stauffer reports the discovery in 2005 of the organ tablatures that Bach wrote out when still in his teens of works by Reincken and Dieterich Buxtehude, showing "a disciplined, methodical, well-trained teenager deeply committed to learning his craft".[19]
Weimar, Arnstadt, and Mühlhausen (1703–08)
In January 1703, shortly after graduating from St. Michael's and being turned down for the post of organist at Sangerhausen,[21] Bach was appointed court musician in the chapel of Duke Johann Ernst III in Weimar.[22] His role there is unclear, but likely included menial, non-musical duties. During his seven-month tenure at Weimar, his reputation as a keyboardist spread so much that he was invited to inspect the new organ, and give the inaugural recital, at St. Boniface's Church in Arnstadt, located about Script error: No such module "convert". southwest of Weimar.[23] In August 1703, he became the organist at St. Boniface's, with light duties, a relatively generous salary, and a fine new organ tuned in the modern tempered system that allowed a wide range of keys to be used.
Despite strong family connections and a musically enthusiastic employer, tension built up between Bach and the authorities after several years in the post. Bach was dissatisfied with the standard of singers in the choir, while his employer was upset by his unauthorised absence from Arnstadt; Bach was gone for several months in 1705–06, to visit the great organist and composer Dieterich Buxtehude and his Abendmusiken at St. Mary's Church in the northern city of Lübeck. The visit to Buxtehude involved a Script error: No such module "convert". journey each way, reportedly on foot.[24]
In 1706, Bach was offered a post as organist at St. Blasius's Church in Mühlhausen, which he took up the following year. It included significantly higher remuneration, improved conditions, and a better choir. Four months after arriving at Mühlhausen, Bach married Maria Barbara Bach, his second cousin. They had seven children, four of whom survived to adulthood, including Wilhelm Friedemann Bach and Carl Philipp Emanuel Bach who both became important composers as well. Bach was able to convince the church and town government at Mühlhausen to fund an expensive renovation of the organ at St. Blasius's Church. Bach, in turn, wrote an elaborate, festive cantata—Gott ist mein König (BWV 71)—for the inauguration of the new council in 1708. The council paid handsomely for its publication, and it was a major success.[17]
Return to Weimar (1708–17)
In 1708, Bach left Mühlhausen, returning to Weimar this time as organist and from 1714 Konzertmeister (director of music) at the ducal court, where he had an opportunity to work with a large, well-funded contingent of professional musicians.[17] Bach moved with his family into an apartment very close to the ducal palace. In the following year, their first child was born and Maria Barbara's elder, unmarried sister joined them. She remained to help run the household until her death in 1729.
Bach's time in Weimar was the start of a sustained period of composing keyboard and orchestral works. He attained the proficiency and confidence to extend the prevailing structures and to include influences from abroad. He learned to write dramatic openings and employ the dynamic motor rhythms and harmonic schemes found in the music of Italians such as Vivaldi, Corelli, and Torelli. Bach absorbed these stylistic aspects in part by transcribing Vivaldi's string and wind concertos for harpsichord and organ; many of these transcribed works are still regularly performed. Bach was particularly attracted to the Italian style in which one or more solo instruments alternate section-by-section with the full orchestra throughout a movement.[26]
In Weimar, Bach continued to play and compose for the organ, and to perform concert music with the duke's ensemble.[17] He also began to write the preludes and fugues which were later assembled into his monumental work The Well-Tempered Clavier (Das Wohltemperierte Clavier—"Clavier" meaning clavichord or harpsichord),[27] consisting of two books, compiled in 1722 and 1744,[28] each containing a prelude and fugue in every major and minor key.
Also in Weimar Bach started work on the Little Organ Book, containing traditional Lutheran chorales (hymn tunes) set in complex textures. In 1713, Bach was offered a post in Halle when he advised the authorities during a renovation by Christoph Cuntzius of the main organ in the west gallery of the Market Church of Our Dear Lady. Johann Kuhnau and Bach played again when it was inaugurated in 1716.[29][30]
In the spring of 1714, Bach was promoted to Konzertmeister, an honour that entailed performing a church cantata monthly in the castle church.[31] The first three cantatas Bach composed in Weimar were Himmelskönig, sei willkommen, BWV 182, for Palm Sunday, which coincided with the Annunciation that year, Weinen, Klagen, Sorgen, Zagen, BWV 12, for Jubilate Sunday, and Erschallet, ihr Lieder, erklinget, ihr Saiten! BWV 172 for Pentecost.[32] Bach's first Christmas cantata Christen, ätzet diesen Tag, BWV 63 was premiered in 1714 or 1715.[33][34]
In 1717, Bach eventually fell out of favour in Weimar and was, according to a translation of the court secretary's report, jailed for almost a month before being unfavourably dismissed: "On November 6, [1717], the quondam concertmaster and organist Bach was confined to the County Judge's place of detention for too stubbornly forcing the issue of his dismissal and finally on December 2 was freed from arrest with notice of his unfavourable discharge."[35]
Köthen (1717–23)
Leopold, Prince of Anhalt-Köthen hired Bach to serve as his Kapellmeister (director of music) in 1717. Prince Leopold, himself a musician, appreciated Bach's talents, paid him well, and gave him considerable latitude in composing and performing. The prince was Calvinist and did not use elaborate music in his worship; accordingly, most of Bach's work from this period was secular,[36] including the orchestral suites, the cello suites, the sonatas and partitas for solo violin, and the Brandenburg Concertos.[37] Bach also composed secular cantatas for the court such as Die Zeit, die Tag und Jahre macht, BWV 134a. A significant influence upon Bach's musical development during his years with the Prince is recorded by Stauffer as Bach's "complete embrace of dance music, perhaps the most important influence on his mature style other than his adoption of Vivaldi's music in Weimar".[19]
Despite being born in the same year and only about Script error: No such module "convert". apart, Bach and Handel never met. In 1719, Bach made the Script error: No such module "convert". journey from Köthen to Halle with the intention of meeting Handel, however Handel had left the town.[38] In 1730, Bach's son Wilhelm Friedemann travelled to Halle to invite Handel to visit the Bach family in Leipzig, but the visit did not come to pass.[39]
On 7 July 1720, while Bach was on travel to Carlsbad with Prince Leopold, Bach's first wife suddenly died.[40] The following year, he met Anna Magdalena Wilcke, a young, highly gifted soprano seventeen years his junior, who performed at the court in Köthen; they married on 3 December 1721.[41] Together they had thirteen more children, six of whom survived into adulthood: Gottfried Heinrich; Elisabeth Juliane Friederica (1726–81), who married Bach's pupil Johann Christoph Altnickol; Johann Christoph Friedrich and Johann Christian, who both became significant musicians; Johanna Carolina (1737–81); and Regina Susanna (1742–1809).[42]
Leipzig (1723–50)
In 1723, Bach was appointed Thomaskantor, Cantor of the Thomasschule at the Thomaskirche (St. Thomas Church) in Leipzig which served four churches in the city, the Thomaskirche, the Nikolaikirche (St. Nicholas Church), the Neue Kirche and the Peterskirche,[43] and musical director of public functions such as city council elections and homages. This was a prestigious post in the mercantile city in the Electorate of Saxony, which he held for twenty-seven years until his death. It brought him into contact with the political machinations of his employer, Leipzig's city council.
Bach was required to instruct the students of the Thomasschule in singing and to provide church music for the main churches in Leipzig. Bach was required to teach Latin, but he was allowed to employ a deputy to do this instead. A cantata was required for the church services on Sundays and additional church holidays during the liturgical year. He usually performed his own cantatas, most of which were composed during his first three years in Leipzig. The first of these was Die Elenden sollen essen, BWV 75, first performed in the Nikolaikirche on 30 May 1723, the first Sunday after Trinity. Bach collected his cantatas in annual cycles. Five are mentioned in obituaries, three are extant.[32] Of the more than three hundred cantatas which Bach composed in Leipzig, over one hundred have been lost to posterity.[2] Most of these concerted works expound on the Gospel readings prescribed for every Sunday and feast day in the Lutheran year. Bach started a second annual cycle the first Sunday after Trinity of 1724, and composed only chorale cantatas, each based on a single church hymn. These include O Ewigkeit, du Donnerwort, BWV 20, Wachet auf, ruft uns die Stimme, BWV 140, Nun komm, der Heiden Heiland, BWV 62, and Wie schön leuchtet der Morgenstern, BWV 1.
Bach drew the soprano and alto choristers from the School, and the tenors and basses from the School and elsewhere in Leipzig. Performing at weddings and funerals provided extra income for these groups; it was probably for this purpose, and for in-school training, that he wrote at least six motets.[44] As part of his regular church work, he performed other composers' motets, which served as formal models for his own.[45]
Bach's predecessor as Cantor, Johann Kuhnau, had also been music director for the Paulinerkirche, the church of Leipzig University. But when Bach was installed as Cantor in 1723, he was put in charge only of music for "festal" (church holiday) services at the Paulinerkirche; his petition to provide music also for regular Sunday services there (for corresponding salary increase) went all the way up to King Augustus II but was denied. After this, in 1725, Bach "lost interest" in working even for festal services at the Paulinerkirche and appeared there only on "special occasions".[46] The Paulinerkirche had a much better and newer (1716) organ than did the Thomaskirche or the Nikolaikirche. Bach had been consulted officially about the 1716 organ after its completion, came from Köthen, and submitted a report.[47] Bach was not required to play any organ in his official duties, but it is believed he liked to play on the Paulinerkirche organ "for his own pleasure".[48]
Bach broadened his composing and performing beyond the liturgy by taking over, in March 1729, the directorship of the Collegium Musicum, a secular performance ensemble started by the composer Georg Philipp Telemann. This was one of the dozens of private societies in the major German-speaking cities that was established by musically active university students; these societies had become increasingly important in public musical life and were typically led by the most prominent professionals in a city. In the words of Christoph Wolff, assuming the directorship was a shrewd move that "consolidated Bach's firm grip on Leipzig's principal musical institutions".[49] Year round, the Leipzig's Collegium Musicum performed regularly in venues such as the Café Zimmermann, a coffeehouse on Catherine Street off the main market square. Many of Bach's works during the 1730s and 1740s were written for and performed by the Collegium Musicum; among these were parts of his Clavier-Übung (Keyboard Practice) and many of his violin and keyboard concertos.[17]
In 1733, Bach composed a mass for the Dresden court (Kyrie and Gloria) which he later incorporated in his Mass in B minor. He presented the manuscript to the King of Poland, Grand Duke of Lithuania and Elector of Saxony, Augustus III in an eventually successful bid to persuade the monarch to appoint him as Royal Court Composer.[4] He later extended this work into a full mass, by adding a Credo, Sanctus and Agnus Dei, the music for which was partly based on his own cantatas, partly new composed. Bach's appointment as court composer was part of his long-term struggle to achieve greater bargaining power with the Leipzig council. Between 1737 and 1739, Bach's former pupil Carl Gotthelf Gerlach took over the directorship of the Collegium Musicum.
In 1747, Bach visited the court of King Frederick II at Potsdam. The king played a theme for Bach and challenged him to improvise a fugue based on his theme. Bach improvised a three-part fugue on one of Frederick's fortepianos, then a novelty, and later presented the king with a Musical Offering which consists of fugues, canons and a trio based on this theme. Its six-part fugue includes a slightly altered subject more suitable for extensive elaboration.
In the same year Bach joined the Corresponding Society of the Musical Sciences (Correspondierende Societät der musicalischen Wissenschaften) of Lorenz Christoph Mizler. On the occasion of his entry into the Society Bach composed the Canonic Variations on "Vom Himmel hoch da komm' ich her" (BWV 769).[50] A portrait had to be submitted by each member of the Society, so in 1746, during the preparation of Bach's entry, the famous Bach-portrait was painted by Elias Gottlob Haussmann.[51] The Canon triplex á 6 Voc. (BWV 1076) on this portrait was dedicated to the Society.[52] Other late works by Bach may also have a connection with the music theory based Society.[53] One of those works was The Art of Fugue, which consists of 18 complex fugues and canons based on a simple theme.[54] The Art of Fugue was only published posthumously in 1751.[55]
Bach's last large work was the Mass in B minor (1748–49) which Stauffer describes as "Bach's most universal church work. Consisting mainly of recycled movements from cantatas written over a thirty-five year period, it allowed Bach to survey his vocal pieces one last time and pick select movements for further revision and refinement."[19] Although the complete mass was never performed during the composer's lifetime, it is considered to be among the greatest choral works of all time.[56]
Death (1750)
Bach's health declined in 1749; on 2 June, Heinrich von Brühl wrote to one of the Leipzig burgomasters to request that his music director, Johann Gottlob Harrer, fill the Thomaskantor and Director musices posts "upon the eventual ... decease of Mr. Bach".[57] Bach became increasingly blind, so the British eye surgeon John Taylor operated on Bach while visiting Leipzig in March or April 1750.[58]
On 28 July 1750 Bach died at the age of 65. A contemporary newspaper reported "the unhappy consequences of the very unsuccessful eye operation" as the cause of death.[59] Modern historians speculate that the cause of death was a stroke complicated by pneumonia.[6][7][8] His son Carl Philipp Emanuel and his pupil Johann Friedrich Agricola wrote an obituary of Bach.[60] In 1754, it was published by Lorenz Christoph Mizler in the musical periodical Musikalische Bibliothek. This obituary arguably remains "the richest and most trustworthy"[61] early source document about Bach.
Bach's estate included five harpsichords, two lute-harpsichords, three violins, three violas, two cellos, a viola da gamba, a lute and a spinet, and fifty-two "sacred books", including books by Martin Luther and Josephus.[62] He was originally buried at Old St. John's Cemetery in Leipzig. His grave went unmarked for nearly 150 years. In 1894, his remains were located and moved to a vault in St. John's Church. This building was destroyed by Allied bombing during World War II, so in 1950 Bach's remains were taken to their present grave in St. Thomas Church.[17] Later research has called into question whether the remains in the grave are actually those of Bach.[63]
After his death, Bach's reputation as a composer at first declined; his work was regarded as old-fashioned compared to the emerging galant style.[64] Initially he was remembered more as a virtuoso player of the organ and as a teacher.
Many of Bach's unpublished manuscripts were distributed among his wife and musician sons at the time of his death. Unfortunately, the poor financial condition of some of the family members led to the sale and subsequent loss of parts of Bach's compositions, including over one hundred cantatas and his St Mark Passion, of which no copies are known to survive.[65]
During the late 18th and early 19th century, Bach was recognised by several prominent composers for his keyboard work. Wolfgang Amadeus Mozart, Ludwig van Beethoven, Frédéric Chopin, Robert Schumann, and Felix Mendelssohn were among his admirers; they began writing in a more contrapuntal style after being exposed to Bach's music.[66] Beethoven described him as "Urvater der Harmonie", the "original father of harmony".[67]
Bach's reputation among the wider public was enhanced in part by Johann Nikolaus Forkel's 1802 biography of the composer.[68] Felix Mendelssohn significantly contributed to the renewed interest in Bach's work with his 1829 Berlin performance of the St Matthew Passion.[69] In 1850, the Bach-Gesellschaft (Bach Society) was founded to promote the works; in 1899 the Society published a comprehensive edition of the composer's works with little editorial intervention.
During the 20th century, the process of recognising the musical as well as the pedagogic value of some of the works continued, perhaps most notably in the promotion of the cello suites by Pablo Casals, the first major performer to record these suites.[70] Another development has been the growth of the historically informed performance movement, which attempts to take into account the aesthetic criteria and performance practice of the period in which the music was conceived. Examples include the playing of keyboard works on harpsichord rather than modern grand piano and the use of small choirs or single voices instead of the larger forces favoured by 19th- and early 20th-century performers.[71]
The liturgical calendar of the Episcopal Church remembers Bach annually with a feast day on 28 July, together with George Frideric Handel and Henry Purcell; the Calendar of Saints of the Lutheran Church, on the same day remembers Bach and Handel with Heinrich Schütz. In other circles, Bach's music is bracketed with the literature of William Shakespeare and the science of Isaac Newton.[72]
During the 20th century, many streets in Germany were named and statues were erected in honour of Bach. A large crater in the Bach quadrangle on Mercury is named in Bach's honour[73] as are the main-belt asteroids 1814 Bach and 1482 Sebastiana.[74] Bach's music features three times—more than that of any other composer—on the Voyager Golden Record, a gramophone record containing a broad sample of the images, common sounds, languages, and music of Earth, sent into outer space with the two Voyager probes.[75]
opening chorale from cantata BWV 140, performed by the MIT Concert Choir
from The Well-Tempered Clavier, Book 1, performed on harpsichord by Robert Schröter
opening aria from the Goldberg Variations, performed on piano by Kimiko Ishizaka
prelude from Cello Suite No. 1, performed by John Michel
|Problems playing these files? See media help.
In 1950, a thematic catalogue called Bach-Werke-Verzeichnis (Bach Works Catalogue) was compiled by Wolfgang Schmieder.[76] Schmieder largely followed the Bach-Gesellschaft-Ausgabe, a comprehensive edition of the composer's works that was produced between 1850 and 1900: BWV 1–224 are cantatas; BWV 225–249, large-scale choral works including his Passions; BWV 250–524, chorales and sacred songs; BWV 525–748, organ works; BWV 772–994, other keyboard works; BWV 995–1000, lute music; BWV 1001–40, chamber music; BWV 1041–71, orchestral music; and BWV 1072–1126, canons and fugues.[77]
Organ works
Bach was best known during his lifetime as an organist, organ consultant, and composer of organ works in both the traditional German free genres—such as preludes, fantasias, and toccatas—and stricter forms, such as chorale preludes and fugues.[17] At a young age, he established a reputation for his great creativity and ability to integrate foreign styles into his organ works. A decidedly North German influence was exerted by Georg Böhm, with whom Bach came into contact in Lüneburg, and Dieterich Buxtehude, whom the young organist visited in Lübeck in 1704 on an extended leave of absence from his job in Arnstadt. Around this time, Bach copied the works of numerous French and Italian composers to gain insights into their compositional languages, and later arranged violin concertos by Vivaldi and others for organ and harpsichord. During his most productive period (1708–14) he composed about a dozen pairs of preludes and fugues, five toccatas and fugues, and the Little Organ Book, an unfinished collection of forty-six short chorale preludes that demonstrates compositional techniques in the setting of chorale tunes. After leaving Weimar, Bach wrote less for organ, although some of his best-known works (the six trio sonatas, the German Organ Mass in Clavier-Übung III from 1739, and the Great Eighteen chorales, revised late in his life) were composed after his leaving Weimar. Bach was extensively engaged later in his life in consulting on organ projects, testing newly built organs, and dedicating organs in afternoon recitals.[78][79]
Other keyboard works
Bach wrote many works for harpsichord, some of which may have been played on the clavichord. Many of his keyboard works are anthologies that encompass whole theoretical systems in an encyclopaedic fashion.
- The Well-Tempered Clavier, Books 1 and 2 (BWV 846–893). Each book consists of a prelude and fugue in each of the 24 major and minor keys in chromatic order from C major to B minor (thus, the whole collection is often referred to as "the 48"). "Well-tempered" in the title refers to the temperament (system of tuning); many temperaments before Bach's time were not flexible enough to allow compositions to utilise more than just a few keys.[80][81]
- The Inventions and Sinfonias (BWV 772–801). These short two- and three-part contrapuntal works are arranged in the same chromatic order as The Well-Tempered Clavier, omitting some of the rarer keys. These pieces were intended by Bach for instructional purposes.[82]
- Three collections of dance suites: the English Suites (BWV 806–811), the French Suites (BWV 812–817), and the Partitas for keyboard (Clavier-Übung I, BWV 825–830). Each collection contains six suites built on the standard model (Allemande–Courante–Sarabande–(optional movement)–Gigue). The English Suites closely follow the traditional model, adding a prelude before the allemande and including a single movement between the sarabande and the gigue.[83] The French Suites omit preludes, but have multiple movements between the sarabande and the gigue.[84] The partitas expand the model further with elaborate introductory movements and miscellaneous movements between the basic elements of the model.[85]
- The Goldberg Variations (BWV 988), an aria with thirty variations. The collection has a complex and unconventional structure: the variations build on the bass line of the aria, rather than its melody, and musical canons are interpolated according to a grand plan. There are nine canons within the thirty variations, every third variation is a canon.[86] These variations move in order from canon at the unison to canon at the ninth. The first eight are in pairs (unison and octave, second and seventh, third and sixth, fourth and fifth). The ninth canon stands on its own due to compositional dissimilarities. The final variation, instead of being the expected canon at the tenth, is a quodlibet.
- Miscellaneous pieces such as the Overture in the French Style (French Overture, BWV 831) and the Italian Concerto (BWV 971) (published together as Clavier-Übung II), and the Chromatic Fantasia and Fugue (BWV 903).
Among Bach's lesser known keyboard works are seven toccatas (BWV 910–916), four duets (BWV 802–805), sonatas for keyboard (BWV 963–967), the Six Little Preludes (BWV 933–938), and the Aria variata alla maniera italiana (BWV 989).
Orchestral and chamber music
Bach wrote for single instruments, duets, and small ensembles. Many of his solo works, such as his six sonatas and partitas for violin (BWV 1001–1006), six cello suites (BWV 1007–1012), and partita for solo flute (BWV 1013), are widely considered among the most profound works in the repertoire.[87] Bach composed a suite and several other works which have been claimed (since 1900) for the solo lute, but there is no evidence that he wrote for this instrument.[88] He wrote trio sonatas; solo sonatas (accompanied by continuo) for the flute and for the viola da gamba; and a large number of canons and ricercars, mostly with unspecified instrumentation. The most significant examples of the latter are contained in The Art of Fugue and The Musical Offering.
Bach's best-known orchestral works are the Brandenburg Concertos, so named because he submitted them in the hope of gaining employment from Margrave Christian Ludwig of Brandenburg-Schwedt in 1721; his application was unsuccessful.[17] These works are examples of the concerto grosso genre. Other surviving works in the concerto form include two violin concertos (BWV 1041 and BWV 1042); a concerto for two violins in D minor (BWV 1043), often referred to as Bach's "double" concerto; and concertos for one to four harpsichords. It is widely accepted that many of the harpsichord concertos were not original works, but arrangements of his concertos for other instruments now lost.[89] A number of violin, oboe, and flute concertos have been reconstructed from these. In addition to concertos, Bach wrote four orchestral suites, and a series of stylised dances for orchestra, each preceded by a French overture.[90]
Vocal and choral works
As the Thomaskantor, beginning mid of 1723, Bach performed a cantata each Sunday and feast day that corresponded to the lectionary readings of the week.[17] Although Bach performed cantatas by other composers, he composed at least three entire annual cycles of cantatas at Leipzig, in addition to those composed at Mühlhausen and Weimar.[17] In total he wrote more than three hundred sacred cantatas, of which nearly two hundred survive.[2][91]
His cantatas vary greatly in form and instrumentation, including those for solo singers, single choruses, small instrumental groups, and grand orchestras. Many consist of a large opening chorus followed by one or more recitative-aria pairs for soloists (or duets) and a concluding chorale. The recitative is part of the corresponding Bible reading for the week and the aria is a contemporary reflection on it. The melody of the concluding chorale often appears as a cantus firmus in the opening movement. Among his best known cantatas are:
- Christ lag in Todes Banden, BWV 4
- Ich hatte viel Bekümmernis, BWV 21
- Ein feste Burg ist unser Gott, BWV 80
- Gottes Zeit ist die allerbeste Zeit, BWV 106 (Actus Tragicus)
- Wachet auf, ruft uns die Stimme, BWV 140
- Herz und Mund und Tat und Leben, BWV 147
In addition, Bach wrote a number of secular cantatas, usually for civic events such as council inaugurations. These include wedding cantatas, the Wedding Quodlibet, the Peasant Cantata, and the Coffee Cantata.[92]
Bach's motets (BWV 225–231) are pieces on sacred themes for choir and basso continuo, with instruments playing colla parte. Several of them were composed for funerals.[93] The six motets certainly composed by Bach are Singet dem Herrn ein neues Lied, Der Geist hilft unser Schwachheit auf, Jesu, meine Freude, Fürchte dich nicht, Komm, Jesu, komm, and Lobet den Herrn, alle Heiden. The motet Sei Lob und Preis mit Ehren (BWV 231) is part of the composite motet Jauchzet dem Herrn, alle Welt (BWV Anh. 160), other parts of which may be based on work by Telemann.[94]
Passions, oratorios, Magnificat
Bach's large choral-orchestral works include the grand scale St Matthew Passion and St John Passion, both written for Good Friday vesper services at the Thomaskirche and the Nikolaikirche in alternate years, and the Christmas Oratorio (a set of six cantatas for use in the liturgical season of Christmas).[95][96][97] Shorter works are the Easter Oratorio, the Ascension Oratorio, and the Magnificat.
Mass in B minor
Bach assembled his last large work, the Mass in B minor, near the end of his life, between 1748 and 1749. The mass was never performed in full during Bach's lifetime.[98][99] He incorporated the Sanctus of 1724 and the Missa in B minor, composed in 1733. He derived many movements from his cantatas, such as Weinen, Klagen, Sorgen, Zagen, BWV 12, written in 1714, and composed some new movements. All of these movements have substantial solo parts as well as choruses. It is not known what direction of development Bach had intended for his last Mass to take. As Stauffer states, "If Bach had lived longer, it is likely that he would have created a definitive fair copy of the Mass, similar to those of the St. John and St. Matthew Passions... As Otto Bettmann once remarked, Bach's 'music sets in order what life cannot.'"[19]
Musical style
Bach's musical style arose from his skill in contrapuntal invention and motivic control, his flair for improvisation, his exposure to North and South German, Italian and French music, and his devotion to the Lutheran liturgy. His access to musicians, scores and instruments as a child and a young man and his emerging talent for writing tightly woven music of powerful sonority, allowed him to develop an eclectic, energetic musical style in which foreign influences were combined with an intensified version of the pre-existing German musical language. From the period 1713–14 onward he learned much from the style of the Italians.[100]
During the Baroque period, many composers only wrote the framework, and performers embellished this framework with ornaments and other elaboration.[101] This practice varied considerably between the schools of European music; Bach notated most or all of the details of his melodic lines, leaving little for performers to interpolate. This accounted for his control over the dense contrapuntal textures that he favoured, and decreased leeway for spontaneous variation of musical lines. At the same time, Bach left the instrumentation of major works including The Art of Fugue open.[102]
Bach's devout relationship with the Christian God in the Lutheran tradition[103] and the high demand for religious music of his times placed sacred music at the centre of his repertory.[104] He taught Luther's Small Catechism as the Thomaskantor in Leipzig, and some of his pieces represent it;[105] the Lutheran chorale hymn tune was the basis of much of his work. He wrote more cogent, tightly integrated chorale preludes than most. The large-scale structure of some of Bach's sacred works is evidence of subtle, elaborate planning. For example, the St Matthew Passion illustrates the Passion with Bible text reflected in recitatives, arias, choruses, and chorales.[106]
Bach's drive to display musical achievements was evident in his composition. He wrote much for the keyboard and led its elevation from continuo to solo instrument with harpsichord concertos and keyboard obbligato.[107] Bach produced collections of movements that explored the range of artistic and technical possibilities inherent in various genres. The most famous example is The Well-Tempered Clavier, in which each book presents a prelude and fugue in every major and minor key. Each fugue displays a variety of contrapuntal and fugal techniques.[108]
Present-day Bach performers usually pursue one of two traditions: so-called "authentic performance practice", utilising historical techniques; or the use of modern instruments and playing techniques, often with larger ensembles. In Bach's time orchestras and choirs were usually smaller than those of later composers, and even Bach's most ambitious choral works, such as his Mass in B minor and Passions, were composed for relatively modest forces. Some of Bach's important chamber music does not indicate instrumentation, which allows for a greater variety of ensembles.
Modern adaptations of Bach's music contributed greatly to Bach's popularisation in the second half of the 20th century. Among these were the Swingle Singers' versions of Bach pieces (for instance, the "Air" from Orchestral Suite No. 3, or the Wachet Auf... chorale prelude) and Wendy Carlos' 1968 Switched-On Bach, which used the Moog electronic synthesiser. Jazz musicians have adopted Bach's music, with Jacques Loussier, Ian Anderson, Uri Caine, and the Modern Jazz Quartet among those creating jazz versions of Bach works.[109]
See also
- List of fugal works by Johann Sebastian Bach
- List of transcriptions of compositions by Johann Sebastian Bach
- List of students of Johann Sebastian Bach
- ^ Template:IPA-de or Template:IPA-de; English pronunciation: /ˈbɑːx/
- ^ a b c Wolff (1997), p. 5
- ^ a b Wolff (2000), pp. 19, 46
- ^ a b "BACH Mass in B Minor BWV 232". The Baroque Music Site. Retrieved 21 February 2012.
- ^ a b Miles (1962), pp. 86–87
- ^ a b Breitenfeld, Tomislav; Vargek-Solter, Vesna; Breitenfeld, Darko; Zavoreo, Iris & Demarin, Vida (2006). "Johann Sebastian Bach's Strokes" (PDF). Acta Clinica Croatica (Sisters of Charity Hospital) 45 (1): 41–44.
- ^ a b Baer, Karl A. (1956). "Johann Sebastian Bach (1685–1750) in medical history". Bulletin of the Medical Library Association (Medical Library Association) 39 (3): 206–211. PMC 195117. PMID 14848627.
- ^ a b Breitenfeld, D.; Thaller, V.; Breitenfeld, T.; Golik-Gruber, V.; Pogorevc, T.; Zoričić, Z. & Grubišić, F. (2000). "The pathography of Bach's family". Alcoholism 36: 161–164.
- ^ Blanning, T. C. W. (2008). The Triumph of Music: The Rise of Composers, Musicians and Their Art. p. 272.
And of course the greatest master of harmony and counterpoint of all time was Johann Sebastian Bach, 'the Homer of music'.
- ^ Jones (2007), p. 3
- ^ "Lesson Plans". Bach to School. The Bach Choir of Bethlehem. Archived from the original on 16 January 2013. Retrieved 23 December 2014.
- ^ Boyd (2000), p. 6
- ^ Printed in translation in David, Mendel & Wolff (1998), p. 283
- ^ Boyd (2000), pp. 7–8
- ^ David, Mendel & Wolff (1998), p. 299
- ^ Wolff (2000), p. 45
- ^ a b c d e f g h i j k l "Johann Sebastian Bach: a detailed informative biography". The Baroque Music Site. Retrieved 19 February 2012.
- ^ Wolff (2000), pp. 41–43
- ^ a b c d e f Stauffer, George B. (20 February 2014). "Why Bach Moves Us". The New York Review of Books. Retrieved 10 April 2014.
- ^ Geiringer (1966), p. 13
- ^ Rich (1995), p. 27
- ^ Boyd (2000), pp. 15–16
- ^ Chiapusso (1968), p. 62
- ^ Snyder, Kerala J. (2007). Dieterich Buxtehude: Organist in Lübeck (2nd ed.). pp. 104–106.
- ^ Towe, Teri Noel. "The Portrait in Erfurt Alleged to Depict Bach, the Weimar Concertmeister". The Face Of Bach. Archived from the original on 16 July 2011. Retrieved 23 December 2014.
- ^ Thornburgh, Elaine. "Baroque Music – Part One". Music in Our World. San Diego State University. Retrieved 24 December 2014.
- ^ Chiapusso (1968), p. 168
- ^ Schweitzer (1935), p. 331
- ^ Koster, Jan. "Weimar (II) 1708–1717". J.S. Bach Archive and Bibliography. Retrieved 11 April 2014.
- ^ Sadie, Julie Anne, ed. (1998). Companion to Baroque Music. p. 205.
- ^ Wolff (2000), pp. 147, 156
- ^ a b Wolff (1991), p. 30
- ^ Gardiner, John Eliot (2010). "Cantatas for Christmas Day: Herderkirche, Weimar" (PDF). pp. 1–2. Retrieved 27 December 2014.
- ^ Wolff, Christoph (1996). "From konzertmeister to thomaskantor: Bach's cantata production 1713–1723" (PDF). pp. 15–16. Retrieved 27 December 2014.
- ^ David, Mendel & Wolff (1998), p. 80
- ^ Miles (1962), p. 57
- ^ Boyd (2000), p. 74
- ^ Van Til (2007), pp. 69, 372
- ^ Spaeth (1937), p. 37
- ^ Spitta (1899), p. 11
- ^ Geiringer (1966), p. 50
- ^ Wolff (1983), pp. 98, 111
- ^ Spitta (1899), p. 193
- ^ "Motets BWV 225–231". Bach Cantatas Website. Retrieved 31 December 2014.
- ^ "Works of Other Composers performed by J.S. Bach". Bach Cantatas Website. Retrieved 31 December 2014.
- ^ Boyd (2000), pp. 112–113
- ^ Spitta (1899), pp. 288–290
- ^ Spitta (1899), pp. 281, 287
- ^ Wolff (2000), p. 341
- ^ Bach, Carl Philipp Emanuel & Agricola, Johann Friedrich (1754). "Denkmal dreyer verstorbenen Mitglieder der Societät der musikalischen Wissenschafften, [Nekrolog auf Johann Sebastian Bach]". Musikalische Bibliothek (in Deutsch) (Leipzig: Mizlerischen Bücherverlag) IV.1: 173.
- ^ Musikalische Bibliothek, III.2 [1746], 353 (Source online), Felbick 2012, 284. In 1746, Mizler announced the membership of three famous members, Musikalische Bibliothek, III.2 [1746], 357 (Source online).
- ^ Musikalische Bibliothek, IV.1 [1754], 108 and Tab. IV, fig. 16 (Source online); letter of Mizler to Spieß, 29 June 1748, in: Hans Rudolf Jung und Hans-Eberhard Dentler: Briefe von Lorenz Mizler und Zeitgenossen an Meinrad Spieß, in: Studi musicali 2003, Nr. 32, 115.
- ^ Hans Gunter Hoke: Neue Studien zur »Kunst der Fuge« BWV 1080, in: Beiträge zur Musikwissenschaft 17 (1975), 95–115; Hans-Eberhard Dentler: Johann Sebastian Bachs »Kunst der Fuge« – Ein pythagoreisches Werk und seine Verwirklichung, Mainz 2004; Hans-Eberhard Dentler: Johann Sebastian Bachs »Musicalisches Opfer« – Musik als Abbild der Sphärenharmonie, Mainz 2008.
- ^ Chiapusso (1968), p. 277
- ^ "Did Bach really leave Art of Fugue unfinished?". The Art of Fugue. American Public Media. Retrieved 28 March 2014.
- ^ Rathey, Markus (18 April 2003). Johann Sebastian Bach's Mass in B Minor: The Greatest Artwork of All Times and All People (PDF). The Tangeman Lecture. New Haven.
- ^ Wolff (2000), p. 442, from David, Mendel & Wolff (1998)
- ^ Hanford, Jan. "J.S. Bach: Timeline of His Life". J.S. Bach Home Page. Retrieved 8 March 2012.
- ^ David, Mendel & Wolff (1998), p. 188
- ^ Bach, Carl Philipp Emanuel & Agricola, Johann Friedrich (1754). "Denkmal dreyer verstorbenen Mitglieder der Societät der musikalischen Wissenschafften, [Nekrolog auf Johann Sebastian Bach]". Musikalische Bibliothek (in Deutsch) (Leipzig: Mizlerischen Bücherverlag) IV.1: 158–173. Printed in translation in David, Mendel & Wolff (1998), p. 299.
- ^ David, Mendel & Wolff (1998), p. 297
- ^ David, Mendel & Wolff (1998), pp. 191–197
- ^ Zegers, Richard H.C.; Maas, Mario; Koopman, A.G. & Maat, George J.R. (2009). "Are the alleged remains of Johann Sebastian Bach authentic?" (PDF). The Medical Journal of Australia 190 (4): 213–216.
- ^ Bach was regarded as "passé even in his own lifetime". (Morris 2005, p. 2)
- ^ Wolff (2000), pp. 456–461
- ^ Schenk, Winston & Winston (1959), p. 452
- ^ Kerst (1904), p. 101
- ^ Geck (2006), pp. 9–10 (excerpt)
- ^ Kupferberg (1985), p. 126
- ^ "Robert Johnson and Pablo Casals' Game Changers Turn 70". NPR Music. National Public Radio. Retrieved 22 February 2012.
- ^ McComb, Todd M. "What is Early Music?–Historically Informed Performance". Early Music FAQ. Retrieved 2 January 2015.
- ^ "Biography of Johann Sebastian Bach". Piano Paradise. Retrieved 22 February 2012.
- ^ Bach, USGS Gazetteer of Planetary Nomenclature
- ^ 1814 Bach, 1482 Sebastiana, JPL Small-Body Database
- ^ "Golden Record: Music from Earth". NASA. Retrieved 26 July 2012.
- ^ "Bach Works Catalogue". Bach Digital. Retrieved 1 January 2015.
- ^ "Complete Works\by BWV Number–All". J.S. Bach Home Page. Retrieved 22 February 2012.
- ^ "Bach, Johann Sebastian". GMN ClassicalPlus. Retrieved 19 May 2008.
- ^ Smith, Timothy A. "Arnstadt (1703–1707)". The Canons and Fugues of J. S. Bach. Retrieved 11 April 2014.
- ^ Schweitzer (1935), p. 333
- ^ Kroesbergen, Willem & Cruickshank, Andrew (November 2013). "18th Century Quotes on J.S. Bach's Temperament". Academia.edu.
- ^ Tomita, Yo. "J. S. Bach: Inventions and Sinfonias". Retrieved 22 February 2012.
- ^ McComb, Todd M. "Bach: English Suites". Early Music FAQ. Retrieved 10 December 2014.
- ^ Traupman-Carr, Carol. "French Suites 1–6". Bach 101. The Bach Choir of Bethlehem. Archived from the original on 2 July 2013. Retrieved 23 December 2014.
- ^ McComb, Todd M. "Bach: Partitas, BWV 825–30". Early Music FAQ. Retrieved 10 December 2014.
- ^ Libbey, Ted. "Gold Standard for Bach's 'Goldberg Variations'". NPR Music. National Public Radio. Retrieved 22 February 2012.
- ^ Bratman, David. "Shaham: Bold, Brilliant, All-Bach". San Francisco Classical Voice. Retrieved 23 February 2012.
- ^ Titmuss, Clive. "The Myth of Bach's Lute Suites". This is Classical Guitar. Retrieved 27 April 2015.
- ^ "Baroque Music". Music of the Baroque. Retrieved 27 December 2014.
- ^ Traupman-Carr, Carol. "A compendium of works performed by the Bach Choir". Bach 101. Bach Choir of Bethlehem. Archived from the original on 19 July 2013. Retrieved 23 December 2014.
- ^ Traupman-Carr, Carol. "Bach, Master of the Cantata". Bach 101. Bach Choir of Bethlehem. Archived from the original on 2 July 2013. Retrieved 24 December 2014.
- ^ Traupman-Carr, Carol. "Cantata BWV 211, Coffee Cantata". Bach 101. Bach Choir of Bethlehem. Retrieved 31 March 2014.
- ^ Traupman-Carr, Carol. "Choral Works". Bach 101. Bach Choir of Bethlehem. Retrieved 31 March 2014.
- ^ Melamed, Daniel R. (1995). J. S. Bach and the German Motet. pp. 90–94.
- ^ Leaver (2007), p. 430
- ^ Williams (2003), p. 114
- ^ Traupman-Carr, Carol. "The Christmas Oratorio, BWV 248". Bach 101. Bach Choir of Bethlehem. Retrieved 29 March 2014.
- ^ "The Mass in B Minor, BWV 232". Bach 101. Bach Choir of Bethlehem. Retrieved 29 March 2014.
- ^ Herz (1985), p. 187
- ^ Wolff (2000), p. 166
- ^ Donington (1982), p. 91
- ^ "Did Bach intend Art of Fugue to be performed?". The Art of Fugue. American Public Media. Retrieved 28 March 2014.
- ^ Herl (2004), p. 123
- ^ Fuller Maitland, J.A., ed. (1911). "Johann Sebastian Bach". Grove's Dictionary of Music and Musicians 1. New York: Macmillan Publishers. p. 154.
- ^ Leaver (2007), pp. 280, 289–291
- ^ Huizenga, Tom. "A Visitor's Guide to the St. Matthew Passion". NPR Music. National Public Radio. Retrieved 25 February 2012.
- ^ Schulenberg (2006), pp. 1–2
- ^ Traupman-Carr, Carol. "The Well Tempered Clavier BWV 846–869". Bach 101. Bach Choir of Bethlehem. Archived from the original on 2 July 2013. Retrieved 23 December 2014.
- ^ Shipton, Alyn. "Bach and Jazz". A Bach Christmas. BBC Radio 3. Retrieved 27 December 2014.
- Boyd, Malcolm (2000). Bach. Oxford: Oxford University Press. ISBN 0-19-514222-5.
- Chiapusso, Jan (1968). Bach's World. Scarborough, Ontario: Indiana University Press. ISBN 0-253-10520-X.
- David, Hans T.; Mendel, Arthur & Wolff, Christoph (1998). The New Bach Reader: A Life of Johann Sebastian Bach in Letters and Documents. New York: W. W. Norton & Company. ISBN 0-393-31956-3.
- Donington, Robert (1982). Baroque Music: Style and Performance: A Handbook. New York: W. W. Norton & Company. ISBN 0-393-30052-8.
- Geck, Martin (2006). Johann Sebastian Bach: Life and Work. Orlando: Harcourt. ISBN 0-15-100648-2.
- Geiringer, Karl (1966). Johann Sebastian Bach: The Culmination of an Era. New York: Oxford University Press. ISBN 0-19-500554-6.
- Herl, Joseph (2004). Worship Wars in Early Lutheranism: Choir, Congregation, and Three Centuries of Conflict. Oxford: Oxford University Press. ISBN 0-19-515439-8.
- Herz, Gerhard (1985). Essays on J.S. Bach. Ann Arbor, Michigan: UMI Research Press. ISBN 978-0835719896.
- Jones, Richard (2007). The Creative Development of Johann Sebastian Bach. Oxford: Oxford University Press. ISBN 0-19-816440-8.
- Kerst, Friedrich (1904). Beethoven im eigenen Wort (in Deutsch). Berlin: Schuster & Loeffler.
- Kupferberg, Herbert (1985). Basically Bach: A 300th Birthday Celebration. New York: McGraw-Hill Book Company. ISBN 0-07-035646-7.
- Leaver, Robin A. (2007). Luther's Liturgical Music. Grand Rapids, Michigan: William B. Eerdmans Publishing Company. ISBN 0-8028-3221-0.
- Miles, Russell H. (1962). Johann Sebastian Bach: An Introduction to His Life and Works. Englewood Cliffs, N.J.: Prentice Hall. OCLC 600065.
- Morris, Edmund (2005). Beethoven: the Universal Composer. New York: HarperCollins. ISBN 0-06-075974-7.
- Rich, Alan (1995). Johann Sebastian Bach: Play by Play. San Francisco: HarperCollins. ISBN 0-06-263547-6.
- Schenk, Erich; Winston, Richard & Winston, Clara (1959). Mozart and his times. New York: Alfred A. Knopf. OCLC 602180.
- Schulenberg, David (2006). The Keyboard Music of J.S. Bach. New York: Routledge. ISBN 0-415-97400-3.
- Schweitzer, Albert (1935). J. S. Bach. Volume 1. New York: Macmillan Publishers.
- Spaeth, Sigmund (1937). Stories Behind the World's Great Music. New York: Whittlesey House.
- Spitta, Philipp (1899). Johann Sebastian Bach: His Work and Influence on the Music of Germany, 1685–1750. Volume 2. London: Novello & Co.
- Van Til, Marian (2007). George Frideric Handel: A Music Lover's Guide to His Life, His Faith & the Development of Messiah and His Other Oratorios. Youngstown, NY: WordPower Publishing. ISBN 0-9794785-0-2.
- Williams, Peter (2003). The Life of Bach. Cambridge: Cambridge University Press. ISBN 0-521-53374-0.
- Wolff, Christoph (1991). Bach: Essays on his Life and Music. Cambridge, Massachusetts: Harvard University Press. ISBN 0-674-05926-3.
- Wolff, Christoph (2000). Johann Sebastian Bach: The Learned Musician. Oxford: Oxford University Press. ISBN 0-19-816534-X.
- Wolff, Christoph, ed. (1983). The New Grove Bach Family. London: Macmillan Publishers. ISBN 0-333-34350-6.
- Wolff, Christoph, ed. (1997). The World of the Bach Cantatas: Johann Sebastian Bach's Early Sacred Cantatas. New York: W. W. Norton & Company. ISBN 978-0-393-33674-0.
Further reading
- Baron, Carol K. (2006). Bach's Changing World: Voices in the Community. Rochester, NY: University of Rochester Press. ISBN 1-58046-190-5.
- Dörffel, Alfred (1882). Thematisches Verzeichnis der Instrumentalwerke von Joh. Seb. Bach (in Deutsch). Leipzig: C.F. Peters. N.B.: First published in 1867; superseded, for scholarly purposes, by Wolfgang Schmieder's complete thematic catalog, but useful as a handy reference tool for only the instrumental works of Bach and as a partial alternative to Schmieder's work.
- Eidam, Klaus (2001). The True Life of Johann Sebastian Bach. New York: Basic Books. ISBN 0-465-01861-0.
- Gardiner, John Eliot (2013). Music in the Castle of Heaven: A Portrait of Johann Sebastian Bach. London: Allen Lane. ISBN 978-0-7139-9662-3.
- Hofstadter, Douglas (1999). Gödel, Escher, Bach: An Eternal Golden Braid. New York: Basic Books. ISBN 0-465-02656-7.
- Pirro, André (2014) [1907]. The Aesthetic of Johann Sebastian Bach. Lanham, Maryland: Rowman & Littlefield. ISBN 978-1-4422-3290-7.
- Stauffer, George B. & May, Ernest (1986). J. S. Bach as Organist: His Instruments, Music, and Performance Practices. Bloomington: Indiana University Press. ISBN 0-253-33181-1.
- Williams, Peter (2007). J. S. Bach: A Life in Music. Cambridge: Cambridge University Press. ISBN 0-521-87074-7.
External links
Find more about
Johann Sebastian Bach
at Wikipedia's sister projects
|Template:ISO 639 name de Wikisource has original text related to this article:
- J.S. Bach Home Page, by Jan Hanford—extensive information on Bach and his works; database of recordings and user reviews
- Bach Bibliography, by Yo Tomita of Queen's University Belfast—especially useful to scholars
- Bach Cantatas Website, by Aryeh Oron—information on the cantatas as well as other works
- Johann Sebastian Bach at the Musopen project
- Lua error in Module:Internet_Archive at line 634: attempt to index field 'wikibase' (a nil value).
- Free sheet music of Johann Sebastian Bach from Cantorion.org
- Free scores by Johann Sebastian Bach in the Choral Public Domain Library (ChoralWiki)
- Free scores by Johann Sebastian Bach at the International Music Score Library Project—the Bach-Gesellschaft-Ausgabe volumes split up into individual works, plus other editions
- All of Bach website with a growing number of freely accessible recordings including HD videos and interviews by the Netherlands Bach Society and guest musicians
- The complete organ works of Bach performed by James Kibbie on German Baroque organs
- Template:BBC composer page
- "Exploring Bach" series at the Oregon Bach Festival
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Videos | May 10, 2010
What's Up May 2010: Star catalogs over six thousand years old
The earliest star catalogs are over six thousand years old, but the stories are even older.
Transcript:Jane Houston Jones: What's Up for May? Constellation stories.
Hello and welcome. I'm Jane Houston Jones at NASA's Jet Propulsion Laboratory in Pasadena, California.
Title - Tablet from late Babylonian era
Jones: Before artificial lights were common, many cultures saw pictures in the way stars were arranged in the night sky.
Title - Background: Chinese star chart. Babylonian stone tablet. Sumerian clay cylinder. Assyrian cuneiform tablet.
Jones: The earliest star catalogs are over 6 thousand years old. But the stories and pictures are even older.
Title - Ice Age cave painting
Jones: Cave paintings in southwest France show a great bull
Title - Taurus
Jones: and dots which look like what we call the Pleiades and Hyades star clusters.
Title - Pleiades. Hyades.
Jones: These paintings go back over 15 thousand years.
Title - Milky Way
Jones: In Australia many aboriginal groups see the dark nebula
Title - Coal Sack nebula. Southern Cross
Jones: next to the Southern Cross constellation as the head of the great, flightless bird the emu.
Title - Emu outlined in stone by aboriginals
Jones: His neck, body and legs are formed from dust lanes in the Milky Way.
Greek mythology tells of Orion the hunter. But other cultures have their own stories and starshapes.
In Australia, Orion appears upside-down.
The belt stars of Orion represent 3 brothers of the Kingfish clan in a traditional Australian tale.
Title - Canoe. Fish.
Jones: They were lifted to the sky for breaking the law.
Title - Ojibway. Cree.
Jones: The Ojibway and Cree First Nations of Manitoba, Canada, see this group of stars as
Title - Nanabush (Ojibway). Wesakaychak (Cree).
Jones: Nanabush or Wesakaychak, who is known for his teaching and trickster abilities.
Title - Mistapew the giant
Jones: Here he appears as the shapeshifter Mistapew the giant.
Here he is pointing to the Hole in the Sky,
Title - Hole in the Sky (Pleaides). Aldebaran.
Jones: the cluster we know as the Pleaides. His outstretched arm is represented by the star Aldebaran.
Title - Mahtootisan Assiniuk. Sweat Lodge Rocks.
Jones: The Cree people call the Pleaides stars Mahtootisan Assiniuk, the Sweat Lodge Rocks.
The constellation Mahtootisan, the Sweat Lodge,
Title - Mahtootisan. Sweat Lodge.
Jones: is part of the legend of how Stonechild was instructed to build a domed sweat lodge over the sweat lodge rocks.
When heated, the spirits of the rocks are released.
Title - Milky Way. Summer Birds' Path.
Jones: The Milky Way is called the Summer Birds' Path by the Cree, because it traces the path of migratory birds.
Title - Niska the goose
Jones: The Cree see Niska the goose flying down the Summer Birds' Path.
Title - Cygnus the swan
Jones: Others see this constellation as Cygnus the swan.
Future generations will have a hard time seeing the constellations described in our legends because the lights of modern cities blot out the stars.
So when you visit our parks and open spaces, look up!
If you are young, ask the elders in your family about stories they learned about the night sky.
You just might uncover star tales and legends that otherwise would be lost.
Title - See NASA images at: photojournal.jpl.nasa.gov
Jones: You can see NASA's images of stars, planets, constellations and more at photojournal.jpl.nasa.gov
Title - Learn about NASA missions at: www.nasa.gov
Jones: And you can learn more about NASA missions at www.nasa.gov
Title - Thanks to the following for submitting material: Edwin Bighetty, Mathias Colomb Cree Nation. Wilfred Buck, MFNERC, Opaskwayak Cree Nation. Manitoba First Nation Education Resource Center. Ray and Barnaby Norris. Fred Watson. Morris Jones.
Jones: That's all for this month. I'm Jane Houston Jones.
Title - NASA Jet Propulsion Laboratory. California Institute of Technology.


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Sooo nice
Sooo nice
I wasn't gonna do it, because the kit came with a 4-link truss, and was planning to save all the axle-brazing, for future Metalhead axles. But I just couldn't stop thinking about the plastic 4-link truss.
Had to start on some:
Also made the grill gaurd. Man that was hard to bend, and try to make it symetrical. It just barely is. My excuse for anything brazed crooked; It will get bent after some tumbles anyway:
Hope to have all three done and mounted tomorrow. We'll see.
lookin great! your hard work is paying off this is going to be a very cool build
The truss at the back was the one I learned the above on. You just make out where the rod-ends bolt to, that the tube is ovalish. The one in front came out as planned:
And posing them:
This is as far as I can go until I make a body, get my transmission and drive bits in, so I can figure out some roll cage tubing.
Last edited by nigelpheron; 03-01-2012 at 08:05 PM. Reason: Tired...
Very nice
Nice progress! The parts are lookin great!!
Thanx all.
Yes, square tube, then cut off what's not needed, then file like mad.
Looking great man! Metal work is fantastic. Are those gcm wheels?
Oh ya. GCM's rock. The final upgrade for this build, will be his axles.
Custom metal work metalhead axles it just keeps getting better thumbs up bud


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Whatever the weather, there's always time for a classic cocktail, so why not try two of our deliciously fruity cocktails for only £8 every day from 5pm*.
Take a trip to paradise with our Long Island Iced Tea, Bacardi Mojito and Sex on the Beach, or enjoy one of our amazing new cocktails, including the light, refreshing Aperol Spritz and the fun, fruity Raspberry Spritz.
We've got a fantastic selection of gin cocktails at The Hollybrook that you'll love! Gordon's Pink Spritz brings you a fruity mix of Gordon's Pink gin, sparkling wine & lemonade, or sip on a Sevilla Spritz with refreshing Tanquary Flor de Sevilla blood orange gin, mixed with sparkling wine & lemonade.
*Our 2 for £8 cocktail offer is not available in Scotland.


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It certainly makes for an odd alliance.
Education groups, typically allied with Democrats, are getting strong words of support from Republican lawmakers as they fight looming budget cuts that could lead to slashing the school year in many communities by up to a week.
Gov. Jerry Brown's Department of Finance is expected to a pull the trigger on deep school cuts on December 15th as part of its financial forecast.
U.S. & World
It could be more than $1.5 billion statewide.
School groups like the California School Boards Association are already suing the administration. They contend that the budget plan approved last June illegally shortchanged schools by more than $2 billion.
That's because the plan moved more than $5 billion in sales tax revenues to counties to pay for moving prison inmates to county jails. Because of that shift, the schools got less.
Republican lawmakers are complaining that the move unnecessarily harmed the schools. If not for that move, they say, the education budget would've grown by $400 million, even with the upcoming trigger cuts. Schools were targeted, they say, to reduce potential cuts to social services.
Attorney-General Kamala Harris turned down a Republican request to issue her own opinion on whether the funding shift was constitutional.
Democrats say there's hypocrisy behind the Republican complaints.
The GOP did not vote for the budget and were successful in blocking temporary taxes. Because of that, Brown and legislative Democrats say to get a budget deal, they had no choice but to shift the funds away from schools.
This kind of rhetoric is going to ramp up as 2012 approaches.
Republicans would like to drive a wedge between education leaders and Capitol Democrats in the coming election year, and believe the upcoming cuts are a good opportunity to do so.
While there'll be lots of noise about that strategy, don't count on it.
After all, education groups are big advocates of tax hikes--the same tax hikes so despised by the GOP.
Let us know what you think. Comment below, send us your thoughts via Twitter @PropZero or add your comment to our Facebook page.


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Daniel Radosh, a senior writer of Daily Show, related on his Twitter account in 2016 that his son's school required parents to sign a permission slip before their children could be allowed to read Ray Bradbury's Farenheit 451:
Fahrenheit 451 is a novel which describes an alternate future of a dystopian America where books are banned and any books found would be burned. It served as a cautionary tale about the dangers of book censorship.
Milo (Radosh's son) is a member of his school's book club. During Banned Books Week, the book club decided to include Fahrenheit 451 on their discussion topics, which is appropriate to the occassion. However, as Fahrenheit 451 contains some minor profanities ("hell", "damn"), the school opted to send permission slips to the parents.
Apparently, some parents did not allow their children to read the book because it has the abovementioned swear words and it also has a depiction of Bible burning.
The irony of censoring a book about censorship may have been lost to them. Nonetheless, Radosh, who's a seeker of ironies in his day job, certainly did not miss it. He signed the permission slip, and included the following great remark:
I love this letter! What a wonderful way to introduce students to the theme of Fahrenheit 451 that books are so dangerous that the institutions of society — schools and parents — might be willing to team up against children to prevent them from reading one. It's easy enough to read the book and say, 'This is crazy. It could never really happen,' but pretending to present students at the start with what seems like a totally reasonable 'first step' is a really immersive way to teach them how insidious censorship can be I'm sure that when the book club is over and the students realize the true intent of this letter they'll be shocked at how many of them accepted it as an actual permission slip. In addition, Milo's concern that allowing me to add this note will make him stand out as a troublemaker really brings home why most of the characters find it easier to accept the world they live in rather than challenge it. I assured him that his teacher would have his back.
Fahrenheit 451 was published in 1953 but it seems that many still haven't learned anything. I hope that this incident proved to be a good learning experience for all parties involved.


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Badgers post big win at Northwestern
Wisconsin cruises to 28-12 halftime lead
EVANSTON, IL — Jared Berggren and Ben Brust each scored 12 points to lead the Wisconsin Badgers men's basketball team to a convincing 69-41 win against Northwestern in Evanston, Illinois Wednesday night.
The Badgers built a 28-12 halftime lead, holding Northwestern to 20 percent shooting (4-20) in the first half.
Wisconsin outrebounded the Wildcats 43-19 in getting its' 10th Big Ten conference win of the season.
Sam Dekker came off the bench to score 10 points as Wisconsin shot 46 percent from the field.
The Badgers are now 10-4 in the Big Ten, 19-8 overall. Northwestern drops to 4-10 in the Big Ten, 13-14 overall.
Wisconsin's next game is Tuesday night when Nebraska comes to the Kohl Center.


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What started as a cloudy rain turned into a downpour but that did not stop these dedicated refinery workers, contractors and families for coming out to raise money for our Community Produce Program*. Tesoro Golden Eagle Refinery, Shell Oil Products US, Phillips 66 and Valero Benicia Refinery began collecting food and money the beginning of August and ended mid-September with a fundraiser celebration which includes a Poker Run, sponsored by United Rentals, S&S, and Contra Costa Electric , motorcycle and custom classic car show, music, great food and lots of laughter. These refineries as well as their contractors and employees of both give time, money and food to help their neighbors in their community throughout the year.
It is great experience working with all of them towards our mission. So far this year, they have been able to raise over $23,000. Contra Costa Electric, Inc., S & S Supplies and Solutions, Brinderson and Discover Land Care, our Contractor Sponsors, also deserve big thanks for all the support they give to the Food Bank. The Shell Clubhouse, jumping with music by Bourbon Fixx Band was powered by DC Solar and the food was good as always when using England's Café & Catering. Great vendors, such as, McGuire Harley-Davidson, Joyce Cid CMT, Origami Owl, Russ Brown Motorcycle Attorneys, Crowne Plaza, Body Savior Wraps, Fit 2 the Core, Central Valley Paranormal and Contra Costa Chiropractic, fun, games and a variety of raffle items made this day complete. We would like to thank all of you for caring and helping your neighbors in need.
*Through June 2014 John Muir/Mt. Diablo Community Health Fund is committed to a 50% match on donations that are designated for Community Produce Program operations in central and east Contra Costa County. With your help we can continue to bring high-quality fresh produce to people in need in your community. Donate to provide more fresh produce today!


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"Warriors in the Night"
Submitted by: Terri Brumit
Category: Music
It was my honor to write "Warriors in the Night" about them and to let them know that there are still some Americans that appreciate what they do. These heroes are a "cut above" and America is blessed to have these unique warriors on our side! So to all the Special Operators, please enjoy my song dedicated to you and know that you will never be forgotten. I pray God's richest blessings and protection on these warriors and their families.
About the author:
I have been a Special Forces wife for more than 30 years. Through those exciting years, I have watched Special Operators come and go while doing their jobs with little recognition. Most people will never know what they do or where they go. The Special Operations community is a close-knit family, and I have been honored to not only live with a Special Operator for many years, but to have met and gotten to know many of these guys.
Read more: https://www.terribrumit.com/Home_Page.html.


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Initial deposit is 25% of cruise fare (minimum $1200) plus the cost of kayaking (if applicable), and most travelers will call our office and pay the deposit with a credit card.
Final payment is due 130 days prior to departure by Bank transfer, check or credit card.
Click here to see a copy of our Terms and Conditions


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It has become its own genre of legal writing: angry judges denouncing plaintiffs in file-sharing lawsuits for abusing the legal system. Judges in New York, Florida, and Illinois have all handed down decisions excoriating the tactics of peer-to-peer plaintiffs. The latest addition to the genre comes from Massachusetts federal Judge Leo Sorokin.
The plaintiffs in the case are publishers of pornographic masterpieces like Anal Cum Swappers 2. Sorokin notes that one of the plaintiffs, Patrick Collins, Inc, has filed "John Doe" lawsuits against at least 11,570 defendants. Yet the firm hasn't converted any of those "John Does" into named defendants at this point—and that's the first step toward actual litigation.
"Not only have Plaintiffs failed to articulate a discovery plan that would lead to identifying the infringers they have sued, but the Plaintiffs cannot even articulate the specific information they need or require in order to identify the infringers," Judge Sorokin wrote in his decision last week.
Indeed, when Judge Sorokin specifically asked an attorney for the plaintiffs what information he needed, he replied, "I don't think there is a specific set of information we need... I'd like to keep this as least burdensome as possible and as least costly as possible. Opening communications between me and the Does or me and the subscribers is, I think, the best course of action."
Translation: give us the names of the subscribers so we can send them threatening letters, but don't make us move forward with a formal legal process. Judge Sorokin argues that "the history of this litigation" demonstrates a "lack of interest in actually litigating" the case against any specific defendant.
This strategy makes sense from the plaintiffs' point of view. After all, if they named individual defendants, the defendants might hire lawyers of their own. And that would be expensive.
"The Plaintiffs have repeatedly said one thing and done another," Sorokin wrote. "The Plaintiffs' counsel has also repeatedly said to the undersigned, and to other judicial officers of this Court, that he intends to litigate the claims he has brought. Yet to date, counsel has sued well in excess of one thousand Doe Defendants in this District, and as far as the Court is aware, he has never served a Complaint upon a single individual defendant."
Judge Sorokin is on the verge of booting the plaintiffs out of court altogether. In last week's order, he halted the discovery process and gave the plaintiffs until Friday, November 16 to explain why their case shouldn't be thrown out altogether.


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Robot Chicken
Appeasing the God Pt2
In this season's conclusion, get ready for some nerds, some action, and a whole lotta Nerd action. It all ends with Robot Chicken being cancelled... again.
= Requires a cable provider login
Season 5
EP 6 Robot Chicken's DP Christmas Special
Come celebrate the holidays with Robot Chicken and see what the very first Christmas was like! Find out what the creators imagine Batman and Robin think about their Christmas jingle - hint: don't sing it if you value your life. And the age-old question is finally answered...who's faster: Superman or Santa Claus.
Season 7
Season 8
Season 9
EP 1 Freshly Baked: The Robot Chicken Santa Claus Pot Cookie Freakout Special: Special Edition
Happy holidays everyone, as Robot Chicken joins Santa for the one Christmas he'll never forget. The north pole elves dream of the toys of holidays past. Krampus puts in a good word for the coal industry. St. Nick meets his idol: Jared Leto.


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|Product Name
|Nintendo Switch NS Arcade Joystick Gamepad Plug&Play Single Rocker Control Joysitck Gamepad
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|0.35 kg = 0.7716 lb = 12.3459 oz
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|switch accessories , gamepad , Nitendo Switch , Arcade game , Single Rocker Control , Joystick
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The additional features: TURBO support continuous function
Packing contents:
1 X Arcade Joystick For Nintend Switch(Not include Console)
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We are excited to offer this 2020 BMW X5. This BMW includes: PARKING ASSISTANCE PACKAGE Automatic Parking Rear Parking Aid Back-Up Camera REMOTE ENGINE START Remote Engine Start IVORY WHITE, VERNASCA LEATHER UPHOLSTERY (MC) Leather Seats WHEELS: 20 Tires - Front Performance Aluminum Wheels Tires - Rear Performance HEATED FRONT SEATS W/ARMRESTS Heated Steering Wheel Heated Front Seat(s) CONVENIENCE PACKAGE WiFi Hotspot Multi-Zone A/C HD Radio A/C Climate Control Satellite Radio Bluetooth Connection Rear A/C Requires Subscription MP3 Player *Note - For third party subscriptions or services, please contact the dealer for more information.* This SUV gives you versatility, style and comfort all in one vehicle. Pull up in the vehicle and the valet will want to parked on the front row. This BMW X5 xDrive40i is the vehicle others dream to own. Don't miss your chance to make it your new ride. Take home this 2020 BMW X5 xDrive40i and enjoy the safety and added performance of AWD. Marked by excellent quality and features with unmistakable refined leather interior that added value and class to the BMW X5 xDrive40i. Enjoy the drive without worrying about directions thanks to the built-in navigation system. BMW of Columbia, treats the needs of each individual customer with paramount concern.We know that you have high expectations, and as a car dealer we enjoy the challenge of meeting and exceeding those standards each and every time. Allow us to demonstrate our commitment to excellence! All of our clients have told us that we value their time in the purchasing process as well as the service visits! Please take a look at the Car Fax report for FREE by visiting our web site WWW.BMWOFCOLUMBIA.COM
BMW of Columbia strives to be a reputable and honest dealer of the finest luxury vehicles available. We have a full selection of new BMW vehicles on offer here. We also have many fine pre-owned vehicles from all manufacturers at our showroom. BMW of Columbia even offers many BMW Certified Pre-Owned (CPO) vehicles. Visit our Columbia, SC car dealerships and browse our wide selection today. Our warm and knowledgeable staff is ready to help you find the right BMW today.
At BMW of Columbia, we take pride in being a reputable BMW Dealer offering the best customer service around. We're known throughout the Columbia, SC area for our helpful and well-informed staff.
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Newton and Helen Mayer Harrison
Newton and Helen Harrison, a collaborative team often referred to simply as "the Harrisons," are among the leading pioneers of the eco-art movement. They have worked for almost 40 years with biologists, ecologists, architects, urban planners, and other artists to collectively initiate promising dialogue to uncover ideas and solutions which support biodiversity and community development.
The Harrisons' concept of art embraces a breathtaking range of disciplines. They are historians, diplomats, ecologists, investigators, emissaries, and art activists. Their work includes proposing solutions and involves not only public discussion, but extensive mapping and documentation of these proposals in an art context. Past projects have focused on watershed restoration, urban renewal, agriculture, and forestry issues, among others. The Harrisons' visionary projects have often led to changes in governmental policy and have expanded dialogue around previously unexplored issues leading to practical implementations throughout the United States and Europe.
For Tuesday Evenings at the Modern, Helen and Newton Harrison present "The Force Majeure - from the Tibetan Plateau, to the Highlands of Europe, to the Sierra Nevada, and then the Bays of San Francisco."
This special Tuesday Evenings presentation is produced by the Modern in partnership with MAP - Make Art with Purpose for MAP 2013, a festival and exhibition of projects that restore and preserve the environment, promote social justice, and advance human knowledge and well-being.


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National Guard jet breaks sound barrier over Vermont, New Hampshire
Supersonic flights allowd only at designated areas.
A Massachusetts Air National Guard fighter jet flying a routine training mission over the New Hampshire-Vermont border inadvertently broke the sound barrier, rattling some residents and sparking concerned calls to police.
The National Guard says the pilot of the F-15C Eagle was completing qualification training in a controlled military airspace Thursday morning when he flew at just under 700 mph at 20,000 feet above sea level, National Guard spokesman Maj. Matthew Mutti said.
The area isn't among those designated by the U.S. Air Force for supersonic flights, he said.
Residents of the Vermont city of Bradford and the New Hampshire communities of Lyme and Orford may have heard the resulting sonic boom, according to a statement released by the National Guard.
Orford police Officer Michael Foster said the sonic boom prompted about a half dozen residents to call his department. "It was just concern because of the noise," he told The Associated Press.
Dispatchers at the Hanover, N.H., police department, who take calls for 23 towns, told the Valley News of Lebanon, N.H., that they received 15 calls related to the sonic boom.
The National Guard says it didn't intend to cause undue concern.
The military restricts supersonic flights to specific operating areas in an effort to avoid disturbing communities over which the jets are flying. The aircrafts are allowed to exceed the speed of sound when flying "15 miles off the coast at a specified altitude ...for the same reasons we don't fly supersonic over the land," Mutti said.
The F-15s — extremely maneuverable tactical fighters designed to enable the Air Force gain and maintain air supremacy over the battlefield — secure the northeastern United States airspace.
"We will continue to work hard to prepare our pilots to fulfill our mission of air superiority, and our commitment to the community's safety is always paramount, never intending to cause undue concern," said Col. Kenneth Lambrich, vice commander of the 104th Fighter Vice Wing based in the western Massachusetts town of Westfield.


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Shares of Whirlpool Corp. ( WHR ) have been on the rise since this home appliances giant raised its full year outlook in late October, reaching a 52-week high on January 3. This Zacks #1 Rank (Strong Buy) should benefit from its cost containment measures, price increases, expansion into fast-growing emerging economies and a bevy of new product launches. With low valuation metrics, including a price-to-sales (P/S) ratio of just 0.5, WHR looks to be a value play.
Whirlpool Tops in Q3
On October 23, Whirlpool reported adjusted earnings per share of $1.80 for the third quarter, beating the Zacks Consensus Estimate by 12.5% and advancing significantly from last year's 29 cents. The results were driven by improvements in the company's North American operations and higher pricing.
Revenues fell 2.8% year over year to $4.50 billion. An unfavorable foreign currency translation and lower monetization of Brazilian tax credits weighed on the top line, despite a strong product price/mix.
Gross margin improved to 15.7% from 12.4% a year ago. Adjusted operating profit more than doubled to $263 million.
Whirlpool raised its adjusted earnings per share forecast (excluding restructuring charges and Brazilian tax credits) to between $6.90 and $7.10 from the earlier guidance of $6.50 to $7.00.
WHR is scheduled to report again on January 28. The Zacks Consensus Estimate for the fourth quarter is currently $2.25 per share.
Earnings Estimates Rising for 2013
Four of five earnings estimates for 2013 have been revised higher in the past 60 days. The Zacks Consensus Estimate for the year rose by 12 cents (or 1.3%) to $9.15 per share, reflecting a projected annualized growth of roughly 31%.
A Value Stock
Whirlpool has a lot to attract investors seeking value. In addition to having a low P/S, the stock has an attractive forward P/E ratio of 11.59. It also sports a low price-to-book (P/B) ratio of 1.9. (A P/S ratio lower than 1.0, a P/E below 15.0 and a P/B ratio under 3.0 generally indicate value).
Whirlpool's shares performed well in 2012, generating a roughly 110% return. Shares reached as high as $94.34 on October 23 (the highest level since July 2010) following the announcement of the forecast-topping third quarter earnings. The stock continued to move higher since then and reached its 52-week high of $107.94 on January 3, 2013.
Founded in 1898, Whirlpool Corporation is one of the largest manufacturers of home appliances on the planet. Its brands include Whirlpool, Maytag, KitchenAid, Roper, Jenn-Air, Amana, Brastemp, Consul and Bauknecht. Whirlpool, which has a market cap of roughly $8.3 billion, has 65 manufacturing and technology research centers globally.
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WHIRLPOOL CORP (WHR): Free Stock Analysis Report
To read this article on Zacks.com click here.
The views and opinions expressed herein are the views and opinions of the author and do not necessarily reflect those of Nasdaq, Inc.
The views and opinions expressed herein are the views and opinions of the author and do not necessarily reflect those of Nasdaq, Inc.


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General and Captains Information
COVID -19 Champ Shirt Information
- We will give out one new shirt to each champion. If someone repeats as a champion, they will choose a shirt from our "old shirt inventory".
General Information
There are many things to consider when playing or captaining an intramural team. Find answers to your questions below.
League Guidelines
There are many requirements for participation, attendance, forfeit fees and more!
The Recreational Services Department stresses that participants display good sportsmanship at all times. The department will not tolerate physical or verbal abuse of opponents or officials, unsportsmanlike conduct or any other inappropriate behavior. If participants do not receive high enough sportsmanship ratings they will not be allowed to participate in the tournament. Click here for rules relating to sportsmanship.
Risk Statement
Participation in Recreational Services is completely voluntary. Each individual assumes the risk for any harm or injuries caused by negligence or any intentional acts. Recreational Services staff are not responsible for injuries occurred while playing. All injuries/accidents should be reported to the supervisor in charge of competition, and a complete report made at the Recreational Services Department.
Incidents questioning an official's judgment are not a basis for protest. Only matters involving eligibility and rule interpretation will be considered. A written protest must be submitted to the Intramural Coordinator within 24 hours along with a $10 protest fee. Click here to access the protest form online.
Captain Information
Being an intramural captain can be a fun and rewarding experience! Captain's are able to take a leadership role on their team by taking charge of registration, scheduling, and communication to their team! It can be challenging at times, so we like to offer our captains some incentives!
Captain's Meetings
Captains meetings are held after the entry deadline and before play begins in room 230 of the Elmen Center. If the captain is unable to attend, a representative must be present. Teams not represented at this meeting will be charged a $5.00 forfeit fee and no games will be rescheduled if there are conflicts. The purpose of these meetings is to inform participants of the particular sport's rules, schedules, and discuss general information. League schedules will be tweaked at the captain's meeting.
Intramural Captain's Award
The captain's award is an incentive program for the people who take charge of their intramural team! To be eligible, you must attend the captain's meetings or send someone in your place. Your team cannot have any forfeits during a tournament or a league. Then, you will earn 1/2 point for a tournament or 1 point for a league! Accumulate 4 points and receive an Intramural Captain long sleeved t-shirt. Accumulate 8 points and get a sweatshirt!
How To Enter Competition
Online registrations is required for all events. Captain's can go online to register their team for the selected event.


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Lancome Dual End Liner And Shadow Brush #18
This versatile dual-ended brush is the ideal partner to eye shadows, both powder (wet or dry) and cream shadows. Designed with two sides for portability and convenience: the flat, angled side precisely lines the lid and lower lash line, while the tapered, rounded side perfectly blends. Angled side cut at sharper angle for better lining and use in the brow.
How to use:
Apply shadow to back of hand to warm and remove excess. To shape, shade or highlight: place the rounded side of the brush upside down into the lash line and blend upward toward the crease for even application. To define and line: gently sketch the flat, angled side of the brush through the lash line to achieve desired look.
Backstage Beauty Tip:
Double duty with an angled side for lining or brows and a domed end for delivering shimmers, pearls and metallics onto the lid.


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|Wed 19 Jun 2013, 7:30pm–9:00pm
|Wed 26 Jun 2013, 7:30pm–9:00pm
|Wed 3 Jul 2013, 7:30pm–9:00pm
|Wed 10 Jul 2013, 7:30pm–9:00pm
Additional fees may apply
Portuguese - Beginners class covers basic vocabulary and grammar as well as useful phrases needed when traveling in Portuguese speaking countries. Conversation is encouraged through interactive activities. Visual materials will be presented and used to aid communication skills.
8-week course.
Term 2 starts Wednesday 22 May.
Parnell Community Trust runs an exciting programme of Community Classes and Activities at Parnell Community Centre and in inner city Auckland.
We offer a wide variety of classes covering creative art and design, culinary delights, culture, dance, ESOL / general English, healthy mind and body, languages, photography and technology. You'll find details of all our classes here on Eventfinder and on our website.
Our social activities include bridge, mah jong, chess, seniors coffee and chat, walking group, film club, garden group, Scrabble, knitting group, U3A Parnell and Toastmasters Club.
We also offer a schedule of heritage walks - both guided walks and our soon-to-be-launched self-guided walks about central Auckland's historic suburbs.
Every term, you'll find something new to learn, discover or just have a go at while you meet people and make new friends. Our classes are led by knowledgeable and experienced tutors. Our group activities, such as bridge and mah jong, are coordinated by wonderful community volunteers.
We offer a fresh programme twice a year. Our programme for Terms 1 and 2 runs from January to June; the Terms 3 and 4 programme runs from July to December. Most classes and activities are held at Parnell Community Centre, in the Jubilee Building, where there's plenty of parking outside business hours. Other classes are held at our Glanville Community Campus.
In 2012 Parnell Trust created a satellite schedule of Inner City activities and classes for Auckland CBD residents. Most of these are held at The Pioneer Women's and Ellen Melville Hall, Freyberg Place off High Street.
Signing up for a class or activity is easy:
1. Enrol online at www.parnell.org.nz/enrol.htm; or
2. Complete an enrolment form (available online or within our printed programme) then email, post or
fax it to us; or
3. Come to the Parnell Community Centre office, upstairs at the Jubilee Building at 545 Parnell Road, to enrol in person. (Cash, credit card, Eftpos and cheque payments accepted.)
- You must enrol and pay for your class before it begins. (Tutors cannot accept enrolments or payments.)
- Our class and activity fees include GST.
- A 10% discount applies for senior citizens (65+) and people with a Community Services Card.
- No discounts for casual attendance activities or annual membership fees.
- Only one discount per enrolment please.
- Receipts are issued on request or at first class.
- Material costs are not included, unless otherwise stated.
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